The lips must be thought of as an "O" completely encircling the mouthpiece. Especially important is the balance of lip pressure from the top and sides with the taut bottom lip. This will produce a tone that has presence. Varying the pressure of the lips creates nuance and helps greatly in articulation. The lips must not be pulled back as if in a smile. This will negate all the necessary lip pressure from the top and sides. Neither must
the lips be wrapped totally forward around the mouthpiece. This will make the bottom lip too full, the sound dull and create insufficient top and side pressure.

The key to correct embouchure is the top lip, because pressure from the top lip downward will automatically point the chin firmly but pointing the chin will not create top lip pressure. Top lip pressure also opens both the mouth and the sound by causing the soft palate to yawn open and the top teeth to tend to move upward and away from the mouthpiece. This way the potentially crushing force of the jaws is directed away from
closing the reed against the rails of the mouthpiece.

The outer edge of the top lip must also be tucked under itself applying pressure downward and inward against the top of the mouthpiece. Visually you will see a neat and straight line arching across the top of the mouthpiece. This type of top lip pressure gives you the same advantages as a double lip embouchure (where the top lip is tucked between the teeth and the top of the mouthpiece) in areas of sensitivity, color and nuance. However, the double lip embouchure does not completely promote the opening of the mouth nor give enough stability for a firm and powerful sound.

The top lip must be strengthened by an important exercise not involving the clarinet. Using the forefinger of the right hand, extend it upwards from the fist and bend it into the shape of a hook. With the finger held firmly in this arched position, place the top side of the second joint on the front of the top teeth and beneath the upper lip. Press the top lip upwards strongly with the finger. The top lip must now force the finger back down beyond the edge of the top teeth. Repeat countless times.

Notice how this exercise will not only strengthen top lip pressure downward, but will raise the top teeth, open the mouth and create the proper bottom lip and chin positions.

When playing, note that the top teeth merely rest against the rubber patch affixed on the top of the mouthpiece while the top lip actually grips and balances the clarinet.

The bottom lip must be firm--not stretched too thin nor allowed to be too full. It must rest against the bottom teeth with only the inner edge of the lip rolling over the top edge of the bottom teeth to provide a dampening action and cushion of support for the
reed. Care must be taken that too much of the bottom lip is not rolled into the mouth as the mouthpiece is inserted. The clarinet should rest more against the front of the bottom teeth than the top of the bottom teeth after being cushioned by the bottom lip. The outer edge of the bottom lip must be held in place behind the top lip by the pressure of the top lip downward. This will prevent the undesirable puffing out of the bottom lip
from around the sides of the reed towards the lower corners of the mouth. The bottom lip must then be kept drawn down and into the heart of the reed by the chin.

The sides of the mouth must apply pressure inward towards the mouthpiece as the corners of the lips seal together. The sides and corners of the embouchure must be strengthened to prevent the escape of air. This can be done by playing slow scales with the clarinet held alternately in each side of the mouth.

Back to Embouchure or forward to the Chin and Jaw.

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